Lola (1981), part of Rainer Werner Fassbinder's BRD Trilogy following the iconic Marriage of Maria Braun (1979), loosely adapts elements from The Blue Angel (1930). It revolves around the story of a virtuous man, Von Bohm (Armin Mueller-Stahl), who becomes entangled with Lola (Barbara Sukowa), a cabaret singer, and ultimately succumbs to corruption. Von Bohm, a newly appointed building inspector, uncovers widespread corruption in the town, particularly involving the influential businessman Schuckert (Mario Adorf), who frequents a brothel where Lola works. Unaware of Lola's profession, Von Bohm falls for her charms, only to realize the truth later on.

Through brilliant narrative interweaving and aesthetic choices, Fassbinder portrays Von Bohm as a symbol of an idealistic yet ambiguous economic and moral system, often bathed in blue light. In contrast, the rest of the town, particularly Lola, is depicted in warm hues of orange and red, symbolizing a corrupt form of capitalism intertwined with moral decay. As the story unfolds, Von Bohm's moral compass falters, leading to a bleak outlook for both the newlyweds and the town as a whole.

I owe this film a lot of credit for inspiring me to get into color theory, or film lighting practices. I had not realized how important the color choices of a scene were, or how poor color choices could completely break the scene. Lola also broadened my horizons to political and social commentaries in film, as before Lola I had only seen American war films, and found them to be not my genre. The way Fassbinder intertwines moral decay with societal decay speaks miles more with a great story, like Lola, and stunning color choices.

Il Sorpasso (1962) is a Italian comedy-drama directed by Dino Risi. The film follows the impromptu road trip of Bruno (Vittorio Gassman), a carefree extrovert, and Roberto (Jean-Louis Trintignant), a reserved law student. Bruno persuades Roberto to join him on a journey along the Italian coast. Throughout the trip, their personalities clash as they encounter various characters and situations. Bruno's reckless behavior and Roberto's cautious nature lead to both comedic and poignant moments as they navigate their way through the journey. Ultimately, the trip forces both characters to confront their own fears and desires, leading to a bittersweet conclusion.

Bruno is outgoing, impulsive, and free-spirited, while Roberto is more reserved and cautious. Throughout their journey, the film explores how their differences complement each other, leading to moments of genuine connection and understanding. Bruno's carefree nature serves as a foil to Roberto's more structured approach to life, and through their interactions, they both learn valuable lessons about themselves and each other. However, Il Sorpasso also delves into the darker aspects of brotherhood, as Bruno's impulsiveness often leads to reckless behavior that puts their friendship at risk. As the film progresses, their relationship becomes increasingly strained, reflecting the complexities and challenges that can arise within close friendships.

Il Sorpasso is one of my favorite movies whenever summer comes around. Regardless of its rocky ending, I always find myself smiling (whenever Bruno isn't honking his Lancia Aurelia's god awful horn) over the purity that is Bruno and Roberto's friendship. I love how this film dives into the fact that you can meet someone within the span of 72 hours, become great friends, and maybe never talk to each other ever again. Il Sorpasso will forever be a classic of Italian neo-realism, and a staple to my list of favorite films. 

Girlfriends (1978), directed by Claudia Weill, follows the life of Susan Weinblatt (Melanie Mayron), a young woman living in New York City as a struggling photographer, as she navigates the complexities of friendship, career, and personal growth. Susan's life takes a turn when her roommate and best friend, Anne Munroe (Anita Skinner), announces her engagement and plans to move out. This leaves Susan feeling adrift and uncertain about her own future, sending her to find stability from other people around her, such as her own Rabbi. She embarks on a journey of self-discovery, exploring different career opportunities and relationships. She befriends a neighbor, Eric (Christoper Guest) and the two form a close bond, however, they clash over daily life and the idea of a relationship. 

Throughout the film, Susan grapples with the challenges of balancing her personal and professional life, as well as the pressures society places on women to live up to certain expectations. She faces setbacks and disappointments but ultimately finds strength and independence in pursuing her own path, even if she pursues it alone. One of the reasons I love Girlfriends so much is because of its ability to make the audience feel like a fly on the wall, simply observing the lives of two women. We see various conflicts and strains in the relationship, but they are made up with heartfelt moments of friendship and love. When Anne becomes engaged, Susan feels left behind and struggles with feelings of inadequacy compared to her friend's seemingly perfect life. Because of this, problems arise and the friendship starts to drift. However, it is ultimately brought back around as the two come to realize how important their bond is. 

I've experienced the solitary life of being the only friend seemingly alone, craving connection and reaching out to everyone I know to catch a late-night movie. Girlfriends portrays the raw reality of friendship, transcending gender with its poignant depiction of intimacy between friends. It beautifully showcases natural dialogue, stunning hairstyles, and the complexities of female camaraderie, loneliness, and the inevitable drift that occurs when a friend falls for a new partner. The film's low budget and faded film stock add to its charm, capturing a specific moment in time and the struggles of growing up, as support systems crumble and the chaos of adulthood sets in. It subtly and wisely explores the emotions of disappointment and determination that accompany the journey into adulthood. Girlfriends is one of the first movies that I was given a Criterion DVD for (thank you Aarav), and I am so glad I can watch this film whenever I'm feeling down, or need to feel seen. 

Four Adventures of Reinette and Mirabelle (1987), a French film directed by Éric Rohmer, consists of four vignettes that follow the friendship and experiences of Reinette and Mirabelle, two young women with contrasting personalities. In the first adventure, "The Blue Hour," Reinette invites Mirabelle, a naive art student, to stay at her apartment. They share philosophical discussions about art and life. In the second adventure, "The Waiter," the girls encounter a rude waiter at a café. This encounter prompts discussions about politeness and social norms. In the third adventure, "The Beggar," Reinette and Mirabelle encounter a beggar and have differing reactions to his plight, sparking debates about compassion and generosity. In the fourth adventure, "The Sale," the girls attend a rummage sale where they have differing experiences and interactions with the sellers, leading to reflections on consumerism and human nature. The film manages to piece together topics that still hold up to this day, and finds a way to make every scene look beautiful, deeming it one of my favorites.

Rohmer's filmography is divided into series: The Six Moral Tales, Comedies and Proverbs, and the Tales of the Four Seasons. Four Adventures of Reinette and Mirabelle is one of Rohmer's films that doesn't fall into any of these categories, and rather exists by itself, in its own genres. In Rohmer's defense, how can you divide a movie into a series when each of its vignettes consists of a different theme than the last? Surely, you can put "The Waiter" and "The Begger" into his Moral Tales, but the other two remain somewhere in the middle. This is a reason why I love Four Adventures of Reinette and Mirabelle so much; you can not confine it to one thing, since it achieves just so much. Each scene looks straight from a painting, and even the interiors of Reinette's house have so much detail (I spoke more on Rohmer's interiors here).

Made during the creating of Rohmer's most popular film, The Green Ray (1986), Four Adventures of Reinette and Mirabelle serves as a direct translation of the beauty that the characters find in nature throughout both films. The elusive green ray, mentioned in The Green Ray joins arms with The Blue Hour, coming together to celebrate the earth's natural occurrences and beauty in the quiet, little things. Witnessing the natural portrayal of the bond between two girls was incredibly reassuring and invigorating. The contemplative atmosphere imbued the film with a dual sense of simplicity and a nuanced understanding of humanity. Throughout the four episodes, we observe these two girls delving into their inner worlds and navigating the ordinary, as the backdrop shifts from the rural tranquility of Reinette to the bustling urban landscape of the city. The film's conclusion, with its playful undertones, beautifully encapsulates the essence of friendship, showcasing how the girls harmoniously coexist despite their differences. It was a delightful experience, and I earnestly crave more movies that capture the enchantment of friendship with such breathtaking cinematography.